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In the courtyard area, outside of the new cathedral and a short distance from its north side, the holy water font of the monastery is found. It is built from red Chian marble, and is dated to the era of the Monastery’s founding, even though the year 1901 was added to its eight-pillar dome.

The new cathedral of the Monastery was recently completed with the addition of new chairs (stasidia), wood-carved shrines, candle stands, psalter holders, goldwork- embroidered objects, liturgical vessels, and most importantly, with the painting of frescoes by fathers of the Monastery.

The elaborately-decorated marble icon screen stands out in the interior of the cathedral. It was made, along with the Abbot’s throne and the canopy above the altar, from 1845 to 1847 by marble sculptors from Tinos, with marble brought from the quarry of Kavsokalybios on the island. In his book about Mt Athos, Kosmos Blachos examines the construction and artistic quality of the icon screen, and concludes that ‘because of its magnificent simplicity, it is incomparable.’

Among the artefacts of the Monastery, the 12th-century icon of the Theotokou Odigitrias (The Mother of God, the Guide), and another icon, a depiction of the Transfiguration made from steatite (soapstone) and dated to the 13th century, are of particular interest. These icons are found in the sacristy of the Monastery, and can be viewed by visitors.

Within the area of the holy altar of the new cathedral, in the central apse, is the miraculous icon of The Virgin Mary, Full of Grace, dated to the 13th century and known for its artistic excellence and its original expression.

In the gilded, wood-carved shrine at the left column of the central nave of the new cathedral is the miraculous icon of Panagia Hodigitria (‘The Virgin Mary, the Guide’), dated to the 14th century. This icon had been in the Vatopedios Monastery until 1730, when ‘despite locked doors’, the icon miraculously ‘left’ and went to the cathedral of the Xenofontos Monastery. The icon was retrieved by the Vatopedion fathers and secured in their Monastery, but the same miracle was repeated two more times; the fathers of both monasteries agreed that the Virgin Mary had in effect offered her icon to the Xenofontos Monastery.
The wondrous arrival of the icon is celebrated with a festival on the first Sunday of October, and the protection of the Virgin is made evident by the the fragrance of myrrh which it miraculously emits periodically, and by the many miracles attributed to it.

On the right column in front of the icon screen of the new cathedral is the miraculous icon of St Georgios. According to the Monastery tradition, the icon had been thrown into a fire by the iconoclasts but was not damaged. Since it had managed in a miraculous way to remain unharmed, a soldier struck the icon with his sword, ‘wounding’ the jaw of the Saint, from which spot blood began to flow. This blood is still preserved today.
To protect it from the iconoclasts,, the faithful subsequently threw the icon into the sea; it later washed ashore at the beach of the (then) small monastery of St Dimitrios, to whom the Monastery had originally been dedicated. At the spot on the beach where the holy icon had rested, a spring of mineral water began to flow. This particular type of mineral water was known to cure dysuoria, resulting in the designation of the saint as ‘Dysuritis’. The fathers of the Monastery brought the icon to the Monastery, and dedicated the new cathedral to the memory of St Georgios.